Indian Music and the Ali Akbar College of Music

Total Page:16

File Type:pdf, Size:1020Kb

Indian Music and the Ali Akbar College of Music Ali Akbar College of Music Indian Music and the Ali Akbar College of Music The Ali Akbar College of Music is the only institution outside India which teaches the classical music of the Baba Allauddin Khan Seni Gharana (or Tradition) in the traditional style. The AACM was founded in Kolkata (Calcutta) in 1956. It opened its first U.S. branch in Berkeley, California, in 1967. In 1974, it established permanent facilities in Marin County at its present location in San Rafael. Ali Akbar Khan, son of the great Allauddin Khan and founder of the AACM, came to this country in accordance with his father’s wish to spread the unique music of North India throughout the world. By his decision to remain in America to live and teach, Ali Akbar Khan influenced not only Indian and American music, but music throughout the world. In every country around the globe the nurturing of Indian music outside of India brought new insights into the many-faceted and dazzling possibility of melodic experimentation, rhythmic complexity, improvisation and ornamentation. Since the opening of the Ali Akbar College of Music in the United States, more than 40 years ago, over ten thousand students have attended its classes. Dedicated students from all over the world, of all ages and backgrounds, find the AACM to be a treasure house of learning opportunities. Many of these students have become concert performers and teachers. THE MUSIC To understand the origin of the music in this tradition it may be helpful to understand a little about India’s music traditions. Unlike the Western style of teaching that focuses primarily on the learning of compositions from notation, the classical music of India is still taught, as it has been since antiquity, in the oral tradition passed from guru to disciple. Indian music also has a system of notation, but its main purpose is to augment students’ understanding and memory. During lessons, the student learns by listening and memorizing, reproducing what the teacher sings or plays as exactly as possible with all the music’s subtleties, nuances and ornaments. Gradually, over years of study, practice and memorization, the student learns to create and improvise within the classical structure of Indian music. In the Indian tradition students are called sisya and teachers are called gurus. This teaching/learning relationship is known as the guru-sisya parampara and has ancient origins. In India this relationship is regarded as sacred. Students were often the blood relations of the teachers, but also particularly gifted and persevering students from outside of a family were accepted as students and lived with the teachers or lived nearby. Such is the case in our tradition (the Baba Allauddin Seni Gharana). Baba Allauddin Khan, and his son Ali Akbar Khan, are known throughout India and the world as two of the greatest musicians of the 20th Century. Allauddin Khan’s main guru was Wazir Khan, a direct descendant of Miyan Tansen, court musician to Akbar the Great and considered by most to be the main progenitor of modern classical north Indian music. To 1 Ali Akbar College of Music understand the epic nature of Allauddin Khan and Miyan Tansen’s lives, as well as the musically illustrious inheritance of Ali Akbar Khan, see biographies in the appendix. INDIA North Indian classical music, or Hindustani music as it is sometimes referred to, is from the North of India. The Republic of India is a country in South Asia which comprises most of the Indian subcontinent. India has a coastline which stretches over seven thousand kilometers, and shares its borders with Pakistan to the west, the People's Republic of China, Nepal, and Bhutan to the northeast, and Bangladesh and Myanmar on the east. On the Indian Ocean, it is adjacent to the island nations of the Maldives on the southwest, Sri Lanka on the south, and Indonesia on the southeast. India also claims a border with Afghanistan to the northwest. India is the tenth largest economy in the world. It is also the second most populous country in the world, with a population of over one billion, and is the seventh largest country by geographical area. It is home to some of the most ancient civilizations, and a centre of important historic trade routes. Four major world religions: Hinduism, Buddhism, Jainism and Sikhism have originated from India. Formerly a major part of the British Empire as British India before gaining independence in 1947, during the past twenty years the country has grown significantly, especially in its economic and military spheres, regionally as well as globally. The official name of the country, India IPA: /'ɪndɪə/, is derived from the Old Persian version of Sindhu, the historic local appellation for the river Indus; The Constitution of India and general usage also recognizes Bharat (Hindi: ) which is derived from the Sanskrit name of an ancient Hindu king, whose story is to be found in the Mahabharata, as an official name of equal status. A third name, Hindustan Hindustan (Hindi: - + Hindūstān], from the Persian Hindū: ندوستان ]Hindūsthān], Urdu] stān, archaic Hindoostan) and the adjective Hindustani may relate to various aspects of four geographic areas: • Hindustan: "Land of the Hindus." The word "Hindu" is the Persian form of "Sindhu," the Indus river. Hindustan is considered one of the earliest historical names for the nation of Bharat, India. • The area populated by native Hindustani speaking peoples, particularly the modern Indian state of Uttar Pradesh, formerly a part of the United Provinces. During British rule in South Asia, people in this region were identified as "Hindustanis." • A historical region encompassing present day Northern India, Pakistan, Bangladesh, and neighboring areas. The Mughal Empire and its predecessor sultanate were also referred to as Hindustan, or Salthanat-e-Hind. Hindustani music is a genre of classical music from this region that combines traditional Hindu musical concepts and Persian performance practice. 2 Ali Akbar College of Music • The country of India. Hindustani denotes a connection to India and Hindustan is another name for India. • South Asia or the Indian subcontinent. Hindustan is specifically a term for the pre-Islamic Hindu and Buddhist culture of South Asia. Hindustani is sometimes used as a cultural, ethnic, or genetic term for South Asia. (e.g., A West Indian with such roots might describe his ethnicity by saying he is Hindustani.) IPA: /hɪn'duːstɑːn/), or land of the Hindus in Persian, has been used since Mughal times, though its contemporary use is unevenly applied due to domestic disputes over its representative as a national signifier. Geographically, the region is bound by the Himalaya to the north and east, and the Arabian Sea and the Bay of Bengal to the south. The Hindu Kush mountains between Pakistan and Afghanistan/Iran are usually considered the westernmost edge of the subcontinent. SOUTH ASIA AND THE INDIAN SUBCONTINENT Geologically, this region is a subcontinent because it rests on a tectonic plate of its own, the India Plate, separate from the rest of Eurasia and was once a small continent before colliding with the Eurasian Plate and giving birth to the Himalayan range and the Tibetan plateau. Even now the India Plate continues to move northward with the result that the Himalaya are growing taller by a few centimeters each decade. In addition, the region is also home to an astounding variety of geographical features that are typical of much larger continents, such as glaciers, rainforests, valleys, deserts, and grasslands in an area about half the size of the United States. South Asia ranks among the world's most densely-populated regions. About 1.5 billion people live there — about a quarter of all the people in the world. The region's population density of 305 persons per square kilometer is more than seven times the world average. The region has a long history. Ancient civilizations developed in the Indus River Valley. The region was at its most prosperous before the 18th century, when the Mughal (Mongol)Empire held sway in the north; European colonialism led to a new conquering of the region, by Portugal and Holland, and later Britain and to a lesser degree France. Most of the region gained independence from Europe in the late 1940s. 3 Ali Akbar College of Music The Indian Subcontinent India and surrounding countries India: satellite view Hindustani classical music is an Indian classical music tradition originating in the North of the Indian subcontinent circa the 13th and 14th centuries CE. Developing a strong and diverse tradition over several centuries, it has contemporary traditions established primarily in India, Pakistan and Bangladesh, though classical Hindustani music suffered a decline during the partition of India and Pakistan due to lack of a patronage system. In comparison and contrast to Carnatic music, the other main Indian classical music tradition originating from the South, Hindustani music was not only influenced by ancient Hindu musical traditions, Vedic philosophy and native Indian sounds (in similar ways to South Indian music) but also, unlike Carnatic music, by the Persian performance practices of the Mughals. Outside India, Hindustani classical music is often associated with Indian music in general, as it is arguably the most popular stream of Indian music outside India. 4 Ali Akbar College of Music The following map shows language areas and important music centers in North India. India's classical music tradition, including Carnatic and Hindustani music, has a history spanning millennia and, developed over several eras, remains fundamental to the lives of Indians today as sources of religious inspiration, cultural expression and pure entertainment. India is made up of several dozen ethnic groups, speaking their own languages and dialects.
Recommended publications
  • 1 Syllabus for MA (Previous) Hindustani Music Vocal/Instrumental
    Syllabus for M.A. (Previous) Hindustani Music Vocal/Instrumental (Sitar, Sarod, Guitar, Violin, Santoor) SEMESTER-I Core Course – 1 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Historical and Theoretical Study of Ragas 70 Marks A. Historical Study of the following Ragas from the period of Sangeet Ratnakar onwards to modern times i) Gaul/Gaud iv) Kanhada ii) Bhairav v) Malhar iii) Bilawal vi) Todi B. Development of Raga Classification system in Ancient, Medieval and Modern times. C. Study of the following Ragangas in the modern context:- Sarang, Malhar, Kanhada, Bhairav, Bilawal, Kalyan, Todi. D. Detailed and comparative study of the Ragas prescribed in Appendix – I Internal Assessment 30 marks Core Course – 2 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Music of the Asian Continent 70 Marks A. Study of the Music of the following - China, Arabia, Persia, South East Asia, with special reference to: i) Origin, development and historical background of Music ii) Musical scales iii) Important Musical Instruments B. A comparative study of the music systems mentioned above with Indian Music. Internal Assessment 30 marks Core Course – 3 Practical Credit - 8 Practical : 70 Internal Assessment : 30 Maximum Marks : 100 Stage Performance 70 marks Performance of half an hour’s duration before an audience in Ragas selected from the list of Ragas prescribed in Appendix – I Candidate may plan his/her performance in the following manner:- Classical Vocal Music i) Khyal - Bada & chota Khyal with elaborations for Vocal Music. Tarana is optional. Classical Instrumental Music ii) Alap, Jor, Jhala, Masitkhani and Razakhani Gat with eleaborations Semi Classical Music iii) A short piece of classical music /Thumri / Bhajan/ Dhun /a gat in a tala other than teentaal may also be presented.
    [Show full text]
  • IME Annual Report 2020-2021 Low Size
    Supported by Annual Report 2020-2021 Only in the darkness can “ you see the stars. ― Martin Luther King “ Namaste We have collectively endured one of the defining experiences of our life and times. What started off as a pause in the hustle and bustle of daily life has now become a happening that will forever define the way we see the world. Many of us experienced loss – of loved ones, of time, of precious moments, and of a sense of normalcy. There were days when I questioned everything, and felt the meaninglessness of it all. At the same time, I realized that the future is built one day at a time, by the seemingly small actions we take each day; that, as Martin Luther King said, everything that is done in the world is done by hope. And so, we see ourselves looking back at a most strange year, but one that I am glad to report has been extremely productive for the Indian Music Experience Museum, in our mission to build community through music. The team at IME seamlessly adapted to the online world. We ensured the continuity of music education at the Learning Centre. We unveiled two new online exhibits through an important partnership with Google Art and Culture. Our work in preserving musical traditions achieved an important milestone through the creation of an online archive on the life and works of legendary violinist and composer, Mysore T. Chowdiah, in collaboration with the Shankar Mahadevan Academy. We presented a wide variety of talks, discussions, workshops, showcases, and exhibit walkthroughs online, growing our audience beyond the geographic limitations of in-person events.
    [Show full text]
  • Famous Indian Classical Musicians and Vocalists Free Static GK E-Book
    oliveboard FREE eBooks FAMOUS INDIAN CLASSICAL MUSICIANS & VOCALISTS For All Banking and Government Exams Famous Indian Classical Musicians and Vocalists Free static GK e-book Current Affairs and General Awareness section is one of the most important and high scoring sections of any competitive exam like SBI PO, SSC-CGL, IBPS Clerk, IBPS SO, etc. Therefore, we regularly provide you with Free Static GK and Current Affairs related E-books for your preparation. In this section, questions related to Famous Indian Classical Musicians and Vocalists have been asked. Hence it becomes very important for all the candidates to be aware about all the Famous Indian Classical Musicians and Vocalists. In all the Bank and Government exams, every mark counts and even 1 mark can be the difference between success and failure. Therefore, to help you get these important marks we have created a Free E-book on Famous Indian Classical Musicians and Vocalists. The list of all the Famous Indian Classical Musicians and Vocalists is given in the following pages of this Free E-book on Famous Indian Classical Musicians and Vocalists. Sample Questions - Q. Ustad Allah Rakha played which of the following Musical Instrument? (a) Sitar (b) Sarod (c) Surbahar (d) Tabla Answer: Option D – Tabla Q. L. Subramaniam is famous for playing _________. (a) Saxophone (b) Violin (c) Mridangam (d) Flute Answer: Option B – Violin Famous Indian Classical Musicians and Vocalists Free static GK e-book Famous Indian Classical Musicians and Vocalists. Name Instrument Music Style Hindustani
    [Show full text]
  • Fusion Without Confusion Raga Basics Indian
    Fusion Without Confusion Raga Basics Indian Rhythm Basics Solkattu, also known as konnakol is the art of performing percussion syllables vocally. It comes from the Carnatic music tradition of South India and is mostly used in conjunction with instrumental music and dance instruction, although it has been widely adopted throughout the world as a modern composition and performance tool. Similarly, the music of North India has its own system of rhythm vocalization that is based on Bols, which are the vocalization of specific sounds that correspond to specific sounds that are made on the drums of North India, most notably the Tabla drums. Like in the south, the bols are used in musical training, as well as composition and performance. In addition, solkattu sounds are often referred to as bols, and the practice of reciting bols in the north is sometimes referred to as solkattu, so the distinction between the two practices is blurred a bit. The exercises and compositions we will discuss contain bols that are found in both North and South India, however they come from the tradition of the North Indian tabla drums. Furthermore, the theoretical aspect of the compositions is distinctly from the Hindustani, (north Indian) tradition. Hence, for the purpose of this presentation, the use of the term Solkattu refers to the broader, more general practice of Indian rhythmic language. South Indian Percussion Mridangam Dolak Kanjira Gattam North Indian Percussion Tabla Baya (a.k.a. Tabla) Pakhawaj Indian Rhythm Terms Tal (also tala, taal, or taala) – The Indian system of rhythm. Tal literally means "clap".
    [Show full text]
  • Und Audiovisuellen Archive As
    International Association of Sound and Audiovisual Archives Internationale Vereinigung der Schall- und audiovisuellen Archive Association Internationale d'Archives Sonores et Audiovisuelles (I,_ '._ • e e_ • D iasa journal • Journal of the International Association of Sound and Audiovisual Archives IASA • Organie de I' Association Internationale d'Archives Sonores et Audiovisuelle IASA • Zeitschchrift der Internationalen Vereinigung der Schall- und Audiovisuellen Archive IASA Editor: Chris Clark,The British Library National Sound Archive, 96 Euston Road, London NW I 2DB, UK. Fax 44 (0)20 7412 7413, e-mail [email protected] The IASA Journal is published twice a year and is sent to all members of IASA. Applications for membership of IASA should be sent to the Secretary General (see list of officers below). The annual dues are 25GBP for individual members and IOOGBP for institutional members. Back copies of the IASA Journal from 1971 are available on application. Subscriptions to the current year's issues of the IASA Journal are also available to non-members at a cost of 35GBP I 57Euros. Le IASA Journal est publie deux fois I'an etdistribue a tous les membres. Veuillez envoyer vos demandes d'adhesion au secretaire dont vous trouverez I'adresse ci-dessous. Les cotisations annuelles sont en ce moment de 25GBP pour les membres individuels et 100GBP pour les membres institutionels. Les numeros precedentes (a partir de 1971) du IASA Journal sont disponibles sur demande. Ceux qui ne sont pas membres de I'Association peuvent obtenir un abonnement du IASA Journal pour I'annee courante au coOt de 35GBP I 57 Euro.
    [Show full text]
  • The West Bengal College Service Commission State
    THE WEST BENGAL COLLEGE SERVICE COMMISSION STATE ELIGIBILITY TEST Subject: MUSIC Code No.: 28 SYLLABUS Hindustani (Vocal, Instrumental & Musicology), Karnataka, Percussion and Rabindra Sangeet Note:- Unit-I, II, III & IV are common to all in music Unit-V to X are subject specific in music Unit-I Technical Terms: Sangeet, Nada: ahata & anahata , Shruti & its five jaties, Seven Vedic Swaras, Seven Swaras used in Gandharva, Suddha & Vikrit Swara, Vadi- Samvadi, Anuvadi-Vivadi, Saptak, Aroha, Avaroha, Pakad / vishesa sanchara, Purvanga, Uttaranga, Audava, Shadava, Sampoorna, Varna, Alankara, Alapa, Tana, Gamaka, Alpatva-Bahutva, Graha, Ansha, Nyasa, Apanyas, Avirbhav,Tirobhava, Geeta; Gandharva, Gana, Marga Sangeeta, Deshi Sangeeta, Kutapa, Vrinda, Vaggeyakara Mela, Thata, Raga, Upanga ,Bhashanga ,Meend, Khatka, Murki, Soot, Gat, Jod, Jhala, Ghaseet, Baj, Harmony and Melody, Tala, laya and different layakari, common talas in Hindustani music, Sapta Talas and 35 Talas, Taladasa pranas, Yati, Theka, Matra, Vibhag, Tali, Khali, Quida, Peshkar, Uthaan, Gat, Paran, Rela, Tihai, Chakradar, Laggi, Ladi, Marga-Deshi Tala, Avartana, Sama, Vishama, Atita, Anagata, Dasvidha Gamakas, Panchdasa Gamakas ,Katapayadi scheme, Names of 12 Chakras, Twelve Swarasthanas, Niraval, Sangati, Mudra, Shadangas , Alapana, Tanam, Kaku, Akarmatrik notations. Unit-II Folk Music Origin, evolution and classification of Indian folk song / music. Characteristics of folk music. Detailed study of folk music, folk instruments and performers of various regions in India. Ragas and Talas used in folk music Folk fairs & festivals in India. Unit-III Rasa and Aesthetics: Rasa, Principles of Rasa according to Bharata and others. Rasa nishpatti and its application to Indian Classical Music. Bhava and Rasa Rasa in relation to swara, laya, tala, chhanda and lyrics.
    [Show full text]
  • A Man Called Banda © 2019 Rupinder Singh Brar, Yuba City, CA
    A Man Called Banda © 2019 Rupinder Singh Brar, Yuba City, CA. All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval process, without permission in writing from the publisher. -- Cataloging-in-Publication Data Brar, Rupinder S. 1961-, author A Man Called Banda / by Rupinder S. Brar ; 2019. | Includes bibliographical references. pages ; cm Front cover: A silhouette of a statue of Banda Bahadur from a monument to him at Chappar Chiri, Punjab, India 8 A MAN CALLED BANDA Rupinder Singh Brar 10 Table of Contents The Prophet and the Ascetic 6 The Road to Chappar Chiri 15 Provisions Arms and Victory 20 The Guru Will Protect You 28 Two and a Half Strikes 34 Defeat Defiance and Redemption 40 Life and Death in the Garden of Good and Evil 47 The Age of the Mughals 50 The House of Nanak and the House of Babur 58 The Empire in Crisis 65 The Khalsa Revolution 72 Just War: 77 A Moral Case for Rebellion 77 Assessing a Legend: 85 The Ethics of Banda’s War 85 Bandhi Bir 94 12 PART I COMES A WARRIOR BRAVE Chapter 1 The Prophet and the Ascetic Meticulously maintained weather charts at NASA confirm that on September 14th, 1708, a solar eclipse was witnessed in the northern hemisphere that included almost all parts of India. On that day, many historians believe, an unknown ascetic named Madho Das became a disciple of Guru Gobind Singh and came to be known as Banda.
    [Show full text]
  • Secondary Indian Culture and Heritage
    Culture: An Introduction MODULE - I Understanding Culture Notes 1 CULTURE: AN INTRODUCTION he English word ‘Culture’ is derived from the Latin term ‘cult or cultus’ meaning tilling, or cultivating or refining and worship. In sum it means cultivating and refining Ta thing to such an extent that its end product evokes our admiration and respect. This is practically the same as ‘Sanskriti’ of the Sanskrit language. The term ‘Sanskriti’ has been derived from the root ‘Kri (to do) of Sanskrit language. Three words came from this root ‘Kri; prakriti’ (basic matter or condition), ‘Sanskriti’ (refined matter or condition) and ‘vikriti’ (modified or decayed matter or condition) when ‘prakriti’ or a raw material is refined it becomes ‘Sanskriti’ and when broken or damaged it becomes ‘vikriti’. OBJECTIVES After studying this lesson you will be able to: understand the concept and meaning of culture; establish the relationship between culture and civilization; Establish the link between culture and heritage; discuss the role and impact of culture in human life. 1.1 CONCEPT OF CULTURE Culture is a way of life. The food you eat, the clothes you wear, the language you speak in and the God you worship all are aspects of culture. In very simple terms, we can say that culture is the embodiment of the way in which we think and do things. It is also the things Indian Culture and Heritage Secondary Course 1 MODULE - I Culture: An Introduction Understanding Culture that we have inherited as members of society. All the achievements of human beings as members of social groups can be called culture.
    [Show full text]
  • Rock to Raga: the Many Lives of the Indian Guitar
    Open Research Online The Open University’s repository of research publications and other research outputs Rock to Raga: the many lives of the Indian guitar Book Section How to cite: Clayton, Martin (2001). Rock to Raga: the many lives of the Indian guitar. In: Bennett, Andy and Dawe, Kevin eds. Guitar cultures. Oxford, UK: Berg Publishers Ltd, pp. 179–208. For guidance on citations see FAQs. c 2001 Berg Publishers Ltd Version: Accepted Manuscript Link(s) to article on publisher’s website: http://www.bergpublishers.com/?tabid=1499 Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Rock to Raga: The many lives of the Indian guitar Martin Clayton Chapter for “Guitar Culture”, ed. Dawe/ Bennett, Berg. 2nd DRAFT 1. Introduction What roles does the guitar play, and what meanings does it convey in India? 1 These are not easy questions to answer, since the instrument has spread into many different musical genres, in various geographical regions of the subcontinent. This chapter is nonetheless an attempt, in response to those questions, to sketch out the main features of guitar culture in India. I see it as a kind of snapshot: partial, blurred and lacking fine definition perhaps, but offering a perspective that more focused and tightly-framed studies could not. My account is based on a few weeks’ travel in India, 2 concentrating on the main metropolitan cities of Chennai, Mumbai, Calcutta and Delhi – although it also draws on the reports of many inhabitants of these cities who have migrated from other regions, particularly those rich in guitar culture such as Goa and the north-eastern states.
    [Show full text]
  • Stephen M. Slawek Curriculum Vitae
    Stephen M. Slawek Curriculum Vitae 10008 Sausalito Drive Butler School of Music Austin, TX 78759-6106 The University of Texas at Austin (512) 794-2981 Austin, TX. 78712-0435 (512) 471-0671 Education 1986 Ph.D. (Ethnomusicology) University of Illinois at Urbana-Champaign 1978 M.A. (Ethnomusicology) University of Hawaii at Manoa 1976 M. Mus. (Sitar) Banaras Hindu University 1974 B. Mus. (Sitar) Banaras Hindu University 1973 Diploma (Tabla) Banaras Hindu University 1971 B.A. (Biology) University of Pennsylvania Employment 1999-present Professor of Ethnomusicology, The University of Texas at Austin 2000 Visiting Professor, Rice University, Hanzsen and Lovett College 1989-1999 Associate Professor of Ethnomusicology and Asian Studies, The University of Texas at Austin 1985-1989 Assistant Professor of Ethnomusicology and Asian Studies, The University of Texas at Austin 1983-1985 Instructor of Ethnomusicology and Asian Studies, The University of Texas at Austin 1983 Visiting Lecturer of Ethnomusicology, University of Illinois at Urbana- Champaign 1982 Graduate Assistant, School of Music, University of Illinois at Urbana- Champaign 1978-1980 Archivist, Archives of Ethnomusicology, School of Music, University of Illinois at Urbana-Champaign Scholarship and Creative Activities Books under contract The Classical Music of India: Going Global with Ravi Shankar. New York and London: Routledge Press. 1997 Musical Instruments of North India: Eighteenth Century Portraits by Baltazard Solvyns. Delhi: Manohar Publishers. Pp. i-vi and 1-153. (with Robert L. Hardgrave) SLAWEK- curriculum vitae 2 1987 Sitar Technique in Nibaddh Forms. New Delhi: Motilal Banarsidass, Indological Publishers and Booksellers. Pp. i-xix and 1-232. Articles in scholarly journals 1996 In Raga, in Tala, Out of Culture?: Problems and Prospects of a Hindustani Musical Transplant in Central Texas.
    [Show full text]
  • Indian Classical Music Melodies & Mandolin Tunes
    The Hindu Cultural Society, Staffordshire Presents a Concert on Indian Classical Music Melodies & M andolinSociety, Cultural THindu unesThe Classical Indian by Presents The Hindu Cultural Society, Staffordshire Staffordshire Concert Concert a Music Presents a Concert on on The Hindu Cultural Society, Staffordshire Shraboni Ghosal Melodies & Sugato BhaduriShraboni Indian Classical Music MelodiesPresents a & Concert Mandolin on Tunes y b Ghosal & by Mandolin Tunes withTunes Pt. RajkumarMandolin Misra with Prabir Mitra Indian Classical Music Melodies & Mandolin Tunes & Shraboni Ghosal & Sugatoby Bhaduri Sugato on Tabla w Prabir on Tabla Shraboni w ith Ghosalith & Sugato Bhaduri Bhaduri Bhaduri Mitra Prabir Mitra on Tablawith on on Tabla Prabir Mitra on Tabla Sunday on on on , th 18 th 2010 April Sunday , 18 SundayApril 2010, 18th ,April at 20102.00, pm at 2.00 (prompt) pm (prompt) on Sunday, 18th April 2010,1.45 at at 2.00(Registration pm (prompt) at 2.00 pm 2.00 at , £5.00 Tickets: (Registration(Registration(Registration at at1.45 1.30 pm) atpm) 1.45 pm) Venue : Tickets:(prompt) £5.00Tickets:Gallery (fromArt & £5.00 age (from5 and Museum age above) 5 and above) Potteries The Bethesda Street, Hanley, Stoke on Trent pm) on 5 age Stoke (from Hanley, Street, Bethesda Venue: Tickets: TheVenue Potteries: The £5.00 Museum Potteries Museum&(adults Art Gallery and& Art children) Gallery, , Bethesdaabove) and Street, Hanley, Stoke on Trent, ST1 3DW Bethesda Street, Hanley, Stoke on Trent, ST1 3DW Tickets Venue: The Potteries Tel: Museum (01782) 232323
    [Show full text]
  • Pandit Kartik Seshadri Is a World-Renowned Force in the Field of Indian on the Concepts of Raga and Tala
    Program Notes Artist Bios INDIAN CLASSICAL MUSIC- Kartik Seshadri KARTIK SESHADRI Indian classical music known as Raga Sangeeth, is an improvised art form based Pandit Kartik Seshadri is a world-renowned force in the field of Indian on the concepts of Raga and Tala. The historical origins of this spiritual musical Classical Music. As a sitarist, he attracted widespread attention when he began tradition date back to the sacred Hindu scriptures known as Veda(s), which were performing full-length solos at the age of 6 in India. The sitar maestro is now the early precursors to the system of music that developed gradually. Raga(s) hailed as an “amazingly accomplished” musical powerhouse noted for his music’s are the tonal idiom for improvisation and these precise melodic forms while “expressive beauty, rich tonal sensibility, and rhythmic intricacy,” praised the essentially modal in structure, acquire their distinct musical identities from a Washington Post while the Times of India (2011) noted that Seshadri’s concert complex range of factors: the Indian tonal system of perceiving the octave as 22 was “a show stopper that transported the audience to soak soul deep in his Pandit Kartik Seshadri microtonal divisions (Sruti); the subtle nuances, inflections, and ornamentations mesmerizing performance.” The prestigious Songlines Magazine (U.K.) has in its associated with each Raga; and the particular emphasis of certain notes March 2012 issue declared his latest album “Sublime Ragas” as one of the “Top (Vadi, Samavadi) within the specific ascending and descending (Arohana and Ten of the World’s ” CD’s (as with his 2004 Raga:Rasa album) further citing him Avarohana) movement of each Raga.
    [Show full text]